TomJH
-
Posts
19,359 -
Joined
-
Last visited
-
Days Won
105
Posts posted by TomJH
-
-
A probing, intelligent writeup, as always, MissW.
*MissW wrote:* *And how come all the major characters in the story know "Madge", anyway? How is it that Lauren Bacall's character - and her boyfriend -(Bruce Bennett) are acquainted with the same woman who put Bogart's character in jail ? What are the odds of that? Nobody seems to think it odd that they all know "Madge". When Bogart / Vincent first hears her, outside Bacall's door, one of them says "It's Madge", and they just accept that they both know her. Vincent doesn't ask Irene (Bacall) "How do you know this woman?"*
Well, I think you may have just answered your own question as to why some people are not as enthused with Dark Passage as you are (though I'm not one of those critics). The story does have a lot of implausibilities. Personally, though, with my love of the atmosphere of the film, in particular those Frisco shots, its overall romanticism because the Bogie-Baby magic does come alive at times in the film's second half (particularly the film's closing scene), and those great supporting character performances, that's what really matters about Dark Passage for me, moreso than its script weaknesses, some of which you just described.
*Also, the scene in the diner, when Vincent's planning to leave town. Why, oh why does he tell the cook what part of the paper he wants to read? It would be completely normal to just say "Oh, it doesn't matter, I just like something to read while I eat my breakfast." Why did the cook even ask him ? (all kinds of questions about what part of the paper he wants, what sport in the sports section, etc.) The cook ends up asking himself the same question. There's a tension to this scene, you keep willing Bogart /Vincent to lay low and keep his mouth shut.*
Anyone also notice about that diner scene that it takes Bogart quite a while before he asks the cop asking him all the questions who the heck he is? Bogart, like a little puppet, literally just answers his probing, nervy questions for a 30 seconds or so before finally asking him who he is. Perhaps it's because Bogie's supposed to be scared, possibly he already suspects that he's a cop (the actor playing the cop, by the way, is character actor Douglas Kennedy) and his fear of the man is really palpable. That, in turn, though, is a large part of the great tension of the scene, to which you referred.
Not that it's a particularly big deal but has anybody noticed that Franz Waxman's musical score for Dark Passage is merely the same recycled score that had been used three years before for Bogart and Bacall in To Have and Have Not? I mean, this is a major "A" production with big stars. You'd think they might have come up with something musically original for it. I guess Max Steiner just wasn't available.
-
SansFin, Moorehead's very last words "They'll believe me!" reflect her defiance of Bogart, her emphatic belief that her word with the police carries more weight than his as a convicted murderer. Yet just THREE SECONDS (!!!) later she crashes through the window. It just doesn't make sense to me that that could be anything other than a bizarre accident.
By the way, I've always thought that Moorehead's fall in full scream, with first an overhead shot, her body becoming smaller as it plummets towards the ground, followed by a side angle of her dropping past a window as a screaming woman looks out it, is a pretty impressive moment. And it all occurs within just nine seconds. For any viewer not expecting this moment it must come as quite a shock.
-
Thanks very much, Dargo. All compliments are most gratifyingly accepted here.
As I stated in my original posting, your take that Dark Passage is the least of the Bogart-Bacall films has always been the general consensus among film buffs. Most will probably disagree with me but I think that Dark Passage is, if not a better film, at least a more fun one than their last outing together, Key Largo.
There's a wee bit too much preachy speechifying in that film for my sensitivities. Bacall is virtually a blank slate in the movie (far and away her least interesting performance when co-starring with her husband) and even Bogart is really just doing a rather tired reprise of his cynic-who-will-come-through-in-the-end role from Casablanca (except that in that film it seems a lot fresher, even upon countless repeat viewings).
Largo has a solid cast, of course, with Claire Trevor scoring well, and Edward G. Robinson giving a truly great performance as Rocco. To be honest, though, if Key Largo didn't have Robinson, I don't know that I would ever bother to watch it again. Dark Passage, though, still keeps me entertained, even with the undeniable implausibilities of its story.
And another thing, nowhere in Key Largo do you find Tom D'Andrea as a cabbie telling his "slippity slop" story. There's only ONE film in which that happens, and we know which one that is.
-
{font:arial, helvetica, sans-serif}*Sepiatone wrote: Suicide or not, the act still put Bogey in a bind.*
It sure did. He needed her confession to prove his innocence. {font}
-
Swithin, Agnes Moorehead's final words before her plunge were (with a sneer on her face): "She wants you very badly, doesn't she. She's willing to run away with you and keep on running and ruin everything for herself. But she wouldn't care because she'd be with you and that's what she wants.
"But she doesn't have you now and she'll never have you. Nobody will ever have you. That's the way I want it. You're nothing but an escaped convict. Nobody knows what you wrote down. They'll believe me! They'll believe me!"
She then backs up, flees behind the curtain and smashes through the window. Those are not, in my opinion, the words of a character about to commit suicide.
-
Thanks very much, NoraCharles, for your compliment. I really appreciate it.
Dark Passage was released in the U.S. seven months after Lady in the Lake. While the subjective camera technique had been used on a few occasions previously by some directors, I don't believe that any of them used it as extensively as did Robert Montgomery with Lady in the Lake or Delmer Daves in this film.
Yes, it certainly is gimmicky, as you say. I found the Montgomery film tiresome because there was no break from it while, to me, the Daves effort is more interesting and, fortunately, doesn't extend too much past the first half hour. But I can understand if others may think that it is still too much. For 1947 it was fairly experimental. (Off hand, I know of no other director that used that technique for the entire length of the film, as did Montgomery. One film is quite enough, I feel).
-
Swithin, I can understand why Moorehead's plunge to her death comes as a surprise to many, primarily because it happens so suddenly and there's no preparation for it. Moorehead, in fact, is very defiant and in Bogart's face, to to speak, just before she smashes through the window. She only backs away from Bogie because she may be physically afraid of him as he suddenly lurches towards her. But her then smashing through the window is definitely NOT a suicide in its presentation, in my opinion, but rather a freak accident.
Perhaps if you get the opportunity to see that scene again you'll have a different feeling about your perception of it being a suicide.
-
Glad you enjoyed Pitfall, in particular, Raymond Burr's performance, NoraCharles. Lizabeth Scott's character in Too Late for Tears is quite a contrast to the one she plays in this film.
-
Thanks, Mark. Glad you liked the writeup, plus the fact that your admiration for the film itself is increasing.
-
Even though Dark Passage has fairly frequent broadcasts on TCM, I'm glad that I was able to re-visit this old movie friend last evening thanks to Eddie Muller's selection of it as part of his evening tribute to novelist David Goodis.
(SPOILER ALERT!!!): And I really appreciate Muller's anecdote about the somewhat confusing death scene of Agnes Moorehead's character in the film. As she backs up from Bogart and disappears behind that huge billowing curtain to suddenly fall to her death, it seems like a bizarre accident. In the Goodis novel, however, this obsessive wacko character actually commits suicide in an attempt to frame the man she cannot have with her own "murder." The Hollywood production code, however, Muller said, wouldn't allow a murderess to escape justice in this manner.
Still, if the novel's murderess does do this, it seems to me that it is exactly what Gene Tierney's character had done on screen just two years before in Leave Her to Heaven (a Technicolor noir). While Tierney (unlike Moorehead) is not actually a murderess, she is clearly morally responsible for the death of another character in the film (not to mention bringing about the death of an unborn baby). Not a big difference, as far as I'm concerned, but I guess it was enough to get past the Hollywood censors at the time. In any event, if you're reading this, Mr. Muller, thanks for the anecdote.
Dark Passage has always been ranked, it seems to me, as a sort of slightly neglected orphan child of the four films co-starring Humphrey Bogart and Lauren Bacall. It has never enjoyed the same status as their other three films. Yes, this film's story is pretty far fetched, I concede, and perhaps some Bogart fans are ticked that their screen favourite isn't fully seen until an hour into the production.
However, Delmer Daves, who also wrote the screenplay from Goodis' novel, is inventive and energetic as director. Of course, most audaciously, he utilizes a subjective camera technique for a little more than the film's first half hour, Bogart not appearing on screen, all the action seen through the camera, representing his eyes. (Robert Montgomery, as director/star, of course, would do this for the entire run of his own noir released the same year, Lady in the Lake).
Daves also makes expressive use of shooting many of the film's scenes on location in San Francisco. In fact, the building at which Bacall's character has an apartment stills exists today at 1360 Montgomery Street. Those endless stairs that Bogart climbs with his face bandaged still exist today too. See here:
http://www.movie-locations.com/movies/d/darkpassage.html
A few comments about the film. First, while on the surface, Dark Passage seems very much like a typical late '40s Bogart star vehicle, a murder and mayhem story, shots of dark film noirish streets and with his favourite leading lady, in one key aspect, it's different. And that's in the kind of character that the star is playing.
Unlike the unflappably cool tough guy persona that Bogart immortalized in Casablanca and The Big Sleep, his Vincent Perry in Dark Passage is a frightened man in little control of his fate, who has to depend upon the assistance of others for his survival after he has escaped from San Quentin for a murder he didn't commit. Not only is there Bacall's character who allows him to hide at her place, but also a cab driver (who actually talks him out of surrendering to the police) and a back alley plastic surgeon who assist him. Bogie plays a character in this film so desperate that he allows his face to be surgically altered in order to assist him in his escape (fortunately for Bogart fans, however, he emerges looking just like Bogart).
Bogie had already been experimenting with his screen image by playing a couple of wife murderers and soon, far more famously, would play a paranoid gold prospector. Vincent Perry in Dark Passage was a more subtle variation on his usual screen character, albeit this time done in what seems like a typical star vehicle for him.
One of the chief joys that I have always derived from Dark Passage are contained in the colourful small roles played by character actors whose names might not mean much to many film buffs today: Clifton James as a scheming blackmailer (he of the horse toothed smile, perhaps best remembered today to TCM fans for his contributions to the Joe McDoakes comedy shorts), Houseley Stevenson in a truly bizarre performance as the plastic surgeon and, perhaps best of all for me, Tom D'Andrea as a lonely, talkative cabbie.
D'Andrea's everyman face (not unlike that of Dane Clark) and laconic, conversational speaking style makes a vivid impression in his few (too few) scenes as the cab driver who takes a liking to a frightened Bogie-on-the-run and decides to help him. And D'Andrea is assisted by some great writing. In particular, what a joy it must have been for that actor to be provided with the opportunity to tell that marvelous anecdote about the travails of a passenger in his back seat with two goldfish in bowl that takes a ride up and down seven hills in his cab.
"Slippity slop," D'Andrea says as he describes the water being spilled all over the back seat and the fish falling out of the bowl only to be thrown back into it again. "You never saw such a wet guy in your life," the actor concludes his tale, "and two tireder goldfish."
Dark Passage does not have the usual film noir closing chapter. Even though things look pretty bleak for Bogart's character to prove his innocence at the end, Warners decided to give Bogart-Bacall fans a happy ending by allowing Bogie to escape the police, soon afterward reuniting with her in a small Peruvian cafe. The film fades out with the two embracing on a dance floor, all to the memorable strains of a ten year old Richard Whiting/Johnny Mercer hit, "Too Marvelous for Words." It's an ending designed to satisfy film romantics. Love (and luck) triumphs over all the adversarial forces of the dark world in which their characters exist. Film noir purists may cringe a bit at that ending but it works just fine for me.
-
Thought I'd share this with you, especially since this couple is on TCM tonight:
-
*finance wrote:* *I wonder if many of the "Perry Mason" viewers would have found Burr believable in the role if they had in their minds a certain image of him created by films such as PITFALL.*
I can only speak for myself. Years before I had even heard of Pitfall, I enjoyed Burr as Mason in dozens of Perry Mason dramas. Seeing him as such a creepy obsessive psycho in this film, however, I not only find him incredibly chilling but wish he had had other opportunities to have roles quite as good as this one. Dick Powell and Lizabeth Scott are both fine in the film but it's Burr's performance that continues to linger in my memory.
Having said that, I can still enjoy Burr as Mason. Besides, a lot of those Perry Mason fans in the '50s had probably already seen him as a heavy in the movies, though, admittedly, rarely one quite so creepy as the one he played in Pitfall.
-
*AndyM wrote : {font:arial, helvetica, sans-serif} I hope you didn't think I was classifying {font}Too Late For Tears{font:arial, helvetica, sans-serif} as a non-noir. I was referring to {font}Bad For Each Other*{font:arial, helvetica, sans-serif} *when I wrote that.*
Sorry, Andy, for misinterpreting your post. But then I'm the guy who thought that Eddie Muller pronounced Dashiell with three syllables so this further goes to show just how bright I am!{font}
-
Well, Andy, here we go ahead. What all film noir lovers love to do, debate as to whether or not a particular film qualifies as such. To me, Too Late for Tears is unquestionably a film noir.
You also mentioned Pitfall (available on DVD for your info, though I wish the image was better). It's also a terrific entry, with a particularly memorable creepy, reeeeally creepy, turn by a hulking Raymond Burr as a private dick who becomes obsessed with Lizabeth Scott. And Burr's character seems willing to do just about anything to get her, even though she's clearly repelled by him.
Burr's characterization made me think of Laird Cregar in I Wake Up Screaming.
By the way, without going into the plot, you got it a little wrong. Scott's character does not try to ruin Powell's marriage. Powell's bored and falls in with her (his own fault) but Scott's character is actually a sympathetic one this time. It's Burr who will be bad news for everybody.
!data:image/jpeg;base64,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!
-
*Dargo wrote: These films slip through the cracks and it takes real detective work -- and luck -- to find enough surviving elements from which to rebuild the film.*
*So Eddie, while this process is goin' on, do you wear a Fedora or not???*
A pertinent question, Dargo. But you forgot to also ask him if when he's finding these surviving film elements he has to keep checking over his shoulder in case there's a dame nearby with a gun in her pocket. She might be looking for those film elements, too.
I just don't want to ever hear that Eddie played the sap for a skirt.
-
That's great news, Mr. Muller, a film truly deserving of restoration. And thanks for getting back so soon to let us know.
I hadn't really even heard of Too Late for Tears until a few years ago, but when I saw it was knocked out by the performances of Duryea and Scott. I guess that this film and Dead Reckoning are the two films that best represent Scott as a femme fatale.
-
Yeah, NoraCharles, Dan Duryea's woman slapping rat was such an essential to some of the best '40s film noirs. (Thank you, Fritz Lang).
Have you ever seen a 1949 noir, Too Late for Tears? It has one of my very favourite Duryea performances, but there's a twist to his characterization from the Lang films. He's a seemingly cold-blooded criminal out to retrieve a bundle of loot that housewife Lizabeth Scott has acquired by happenstance. And it's good ol' weasly Dan ready to slap her around for it, too.
As the film proceeds, however, without giving too much story away, it turns out that it's Scott that is really cold blooded and, in fact, much, much tougher than Duryea. Duryea, who falls for her in film noir fashion against his better judgment, starts to gradually realize that fact, too, and starts to take to drink because, much as he is attracted to her, he also knows that she could literally be his end.
Duryea's character, as the film proceeds, becomes increasingly rather pathetic and (are you ready for this) even a little sympathetic. (At least, for me).This film also has one of the great performances of Lizabeth Scott's career, possibly her finest.
Oh, how I wish that Eddie Muller could bring Too Late for Tears to TCM. But, then, that's me. Rather than appreciate what he's doing for us already with his film noir presentations, I just get greedy for more.
But, seriously, if you like either Duryea or Scott, Too Late for Tears is a gotta see.
-
Yes, Hibi, those shots of the matte paintings used in The Rains Came (and it's kind of neat to see the artists actually working on them) makes you appreciate even more the incredible skill of some of those craftsmen behind the camera. I hope those artists were well paid because they really are unsung heroes in helping to make so many of those films transport its viewers into another time or place.
-
Well, I must plead guilty, Mr. Muller, to being the one who decided to dash off a posting saying that you had pronounced Hammett's first name with three syllables. My hearing must have been impaired because my heart was beating so loudly at the time in anticipation of a full evening stretching before me of murder and mayhem. (I'm referring to your selection of films, of course, not a typical evening in my neighbourhood).
Thanks for returning to make the clarification. I'm looking forward to this week's selection of films that you have for us, in particular The Burglar, which I've never seen. Aside from having everyone's favourite film noir rat, Dan Duryea, it also features Martha Vickers, forever immortalized in many of our hearts as Lauren Bacall's nymphomanical kid sister in The Big Sleep. She managed to do more with her thumb in that film than many actresses to with their entire bodies!
-
*NoraCharles1934 wrote to Eddie Muller : And on a personal note, for finally setting me strait as to how to pronounce the name of the man who created the lady who gave me my screen name.
* That's a valid point, too. I have always pronounced Hammett's first name with two syllables, as Dash-ell. Now I find out that it's pronounced with three syllables, Dash-e-ell. Didn't know that. Thanks for the information, Mr. Muller . Somehow, though, I have a feeling that most people will probably look at me a little funny when I pronounce it the correct way because I don't think I've ever heard anyone say it that way before.
-
Mr. Muller, along with the others, I would like to thank you for being kind enough to participate in this thread, and also congratulate you on the great success that you are having as a guest TCM host. Your great knowledge on a genre so close to the hearts of many, along with the fact that you are so articulate and comfortable in front of the camera makes for a great combination.
Like Geraldddddd (hope I got in the correct number of ds there) and Dargo, I think it would be wonderful if you could become a bit more of a fixture at TCM. Hopefully you and the channel can come to some sort of agreement along those lines, assuming that it's something you want to do (what better spotlight could you possibly have to promote film noir?).
Thanks for your selection of the 1931 Maltese Falcon, too, I film that I enjoy even if the Huston version does blow it out of the water. (Isn't there ANYBODY that likes Ricardo Cortez as Spade besides me?).
And I also want to thank you, as well, for your selection of The Breaking Point for a TCM broadcast a few months ago. That Michael Curtiz effort has, for years, been one of the most neglected film gems, a movie that clearly deserves to be regarded as a classic. For many years, while I had great memories of that film (it probably has my favourite John Garfield performance), I couldn't find anyone else who had seen it.
-
*NoraCharles wrote about City Streets: it is interesting to imagine what Clara Bow might have done with the lead. Sylvia was so much more delicate (aiding and abetting mob hits aside**), while Clara had her own uniquely dynamic energy. They both possessed a special capacity for vulnerability though, not to mention beautiful, highly emotive eyes.*
Sylvia Sidney is terrific in City Streets. However, I just have to wonder what the effect would have been upon the film if that whirling dervish Clara Bow had been cast in a serious dramatic part instead, especially considering the fact that Paramount usually didn't give the "It" Girl good material. It's a shame that the lady's personal issues kept her out of the production. Based on the performances that she gave soon afterward in Call Her Savage and Hoopla, she was still a dynamo on screen, as both personality and actress.
Might be, however, that it was just as well for Gary Cooper that it didn't happen. Being a former paramour of Bow's, he was now having an highly tumultuous relationship with that fiery tiger cat Lupe Velez, a lady highly inclined towards plate-throwing fits of jealousy. (One time she actually stabbed Cooper with a knife). Can you image what Coop's off screen love life would have been like while making City Streets if he had Velez breathing down his neck because he was spending time making a film with Bow?
As a matter of fact, Cooper was simultaneously filming a western, Fighting Caravans, up in the mountains, while at the same time returning to studio sets to shoot his scenes for City Streets. That kind of movie making grind, plus his love life battles with Velez (coupled with a mother who was very publically disapproving of Velez, among other ladies that he had known, including Bow) had him soon taking a long needed sojourn to Europe. Cooper was physically losing weight (though he looked good in City Streets) and on the verge of an emotional breakdown, badly needing a break from the Hollywood scene.
-
Dothery, thanks very much for responding so quickly.
I'm sorry that Joyce Reynolds doesn't look back upon her Hollywood years with more affection. However, maybe it's not such a surprise. Warners gave her the lead role in three minor confections, none of which is particularly well remembered today. By the beginning of the '50s her film career had ended, with a final feature made at Columbia.
There's so much glamour and excitement associated with Hollywood but it really is a factory town grinding out a product and often not very kind to many of its participants.
*"They've great respect for the dead in Hollywood,"* Errol Flynn once said, *"but none for the living."*
Another Flynn quote on the town that apparently left a bad taste in Joyce Reynolds' mouth:
*“It’s comfortable, it’s warm, it’s sunny, but it’s filled with the most unutterable bastards.”*
-
Dothery, it's interesting that you know Joyce Reynolds, the virtual incarnation of wholesomeness when she appeared in a handful of films in the '40s.
I'm curious about her casting as Joan Fontaine's sister in The Constant Nymph, even though Reynolds looked nothing like Fontaine. Fontaine's part was originally going to be played by Joan Leslie, an actress to which Reynolds did bear a striking resemblance.
I've often wondered if Reynolds was cast early on because of that resemblance to Leslie and, once Leslie was removed from the project, they kept Reynolds in the role of the sister anyway. I don't suppose by any chance that you might know if that was the case.
*
DARK PASSAGE
in General Discussions
Posted
Andy, William Powell and Jean Harlow were a real life, as well as screen couple. No, they never had the same popularity as a team as Bogart and Bacall but I think the public accepted them, and Powell was 19 years her senior.